Oboe History Bibliography Below is a basic timeline of the oboe's development and history including web links to interesting and informative sites for further research. Also, check out the brief narrative history, which gives a more complete and comprehensive summary than the timeline, if you so desire. We will continue to make additions as our researching continues. We hope you will find this useful! Brief Timeline Antiquity The oboe and its double reed ancestors are likely one of the oldest instruments. Similar double-reed instruments appear in artwork and are referenced in literature from India, Mongolia, China and Japan as well as the Arabs and Greeks. From there, its influence spread westward into Europe probably by means of the Silk Road and Medieval troubadours during the time of the Crusades. A Brief History of the Oboe What is known about the antiquated history of the oboe is little in comparison to most other instruments. It is mostly based on pictorial representations of ancient civilizations or passing references in historical accounts, lending to the idea that some form of the double reeds did indeed exist in ancient civilizations.

The oboeï¿½s distinguishing feature from other instruments (excluding those in its respective family) is the existence of a double reed: two flattened blades of bamboo that produce sound through the vibrations of one blade against the other. In its most primitive form, the reed was a rudimentary reed pipe that would have produced a vibrating sound not much different than a honk or squeak. [1] Combining the reed with the tube was probably a product of Eurasian descent. Eastern civilizations took the idea of the reed and tube a step closer to creating an actual musical instrument. Realizing the reed may damage or wear out, they started separating the reed from the pipe so that the reed could potentially be replaced. Merchant travels on the Old Silk Road across Central Asia began to spread the influence of the double reed instrument and its descents. Early forms of the double reeds still exist today, such as the whit horn (a one-note reed horn made of coiled willow bark pinned together with blackthorn spines). [2] An instrument such as this was first noted in an illustration dating from 3000 BC Egyptian art.

In an excavation at the Royal Cemetery of Ur, an instrument made of silver was unearthed. There is reason to believe it may be a double reed instrument since its design (a narrow bore with three holes) would only allow it to play whole-tone scales. This example also resembles an instrument common throughout the Middle East. Rare surviving examples of Ptolemaic Egyptian reeds also show two reeds bound together with thread (probably done in the early stages of the reedï¿½s growth for pliability). This would have been inserted into a pipe, perhaps like those found in Ur. Egyptian murals, like one depicting a feast in honor of the dead, shows a frontal view of a double-bodied oboe (probably with a single reed) with the reed mouthpieces clearly defined. Greek artwork also portrays musicians holding the reed directly between the lips, but the Greeks sophisticated the instruments by subdividing the semitone step. This instrument was referred to as the aulos: a type of double oboe, which had two divergent pipes of equal length, each with double reed. However, Greek literature (such as in Homerï¿½s Iliad) suggests the instrument might not have been originally Greek.

A passage describes the conversations of the Trojans: And whensoever [Agememnon] looked toward that Trojan plain, he marveled at the many fires that blazed in front of the Ilios, and at the sound of the auloi and syrinz, and the noise of men. [3] Whatever its origins, the oboe ancestors seem to have played a significant part in society and, through continued refinement and development, took an important role in Western music. The use of various predecessors of the oboe were often considered to be of some divine nature and thus an important means of expressions. The hieroglyphics from the mural previously mentioned (ï¿½Feast in honor of the deadï¿½) also relay the words to a dance praising their gods for natural beauty. From this it may be assumed the instrumentï¿½s sound was associated with nature or possibly celebrated as worthy of use in divine praise. Similarly, in Greek mythology, the aulos was associated with Pallas (Athena), Zeusï¿½s favorite daughter.

The sound was described as ï¿½many-voicedï¿½ and ï¿½capable of imitating ï¿½a cry exceeding shrill.ï¿½ï¿½ [4] There is also evidence suggesting double-reed instruments were used as morale builders for troops in battle. The Roman tibia often held this function in war, although it was more widely used for a variety of other occasions. In fact, musicians were in high demand, thrived on popularity, and were entitled to guild member privileges. Tibia was likely the most significant of the instruments in Roman society since it referenced musicians playing tibia in groups in the Twelve-Table Law of 451 BC (a document regulating relations between plebeians and patricians). Rome took many Greek artists captive during the Hellenistic era, which seemed to influence the refining of the instrument. [5] No one knows the exact means of the instrumentï¿½s migration into the West, but it is generally accepted that the double reed reached Europe during the Crusades. Increased trade propelled Medieval Europeï¿½s growth and expansion. With silks and spices came wandering minstrels playing instruments of Byzantine origin.

The crusaders themselves might have heard a double reed instrument on the battlefields of the East. The Latin calamus (ï¿½blade of grassï¿½) was the re-emergence of the Roman tibia in early Medieval Europe. Each European country then gave birth to its own version of the instrument such as the German schalmei, English shawm, Old French chalemie, and Old Spanish chalemel. [6] At its places of origin, double-reed instruments continued to play an important part in worship and exalted occasions. However, sacred music of Europe was up (to that point) exclusively monophonic plainchant. Association with ï¿½Infidelsï¿½ from the East, and perhaps the historical accounts of pagan worship and ceremonies of Rome, resulted in the Churchï¿½s unwillingness to acknowledge foreign instruments in sacred music since the adoption of Christendom in Europe. However, artwork indicates that instrumental music was popular among secular society. Unfortunately, very little instrumental notated music survived from this period. However, Interest in instrumental music began to flourish in the ensuing Renaissance period of Europe.

Michael Praetorius (1571-1621) documented detailed descriptions and information on ï¿½all ancient and modern musical instrumentsï¿½ in the second volume of his work Syntagma musicum. The shawm and bagpipes were named among the double reed instruments. The shawm, considered the predecessor of the modern oboe, was a popular instrument of this period, lending to the notion it had been growing in popularity through the silent medieval period. However, the wideness of the shawmï¿½s reed and bore produced a mellow, yet intense amount of sound. Thus, it was often only used for outdoor or large-scale activities. Other double reed instruments mentioned were rackets (precursor of the modern bassoon) and pommels. These instruments would have commonly been played in varying ensemble combinations as the music was often written to accommodate any instrumental grouping. The musical sphere was altered dramatically in the early 1600ï¿½s, due in part to the Thirty Years War (1618-1648).

Power and wealth centralized solely in the monarchy and aristocracy of Europe, which profited only the artists and musicians who could win their favor. However, this power shift also launched many notable refinements and inventions. It is suspected the shawmï¿½s popularity with King Louis XIV of France led him to request that the instrument be modified for indoor performance. But the increasing chromaticism and dynamic range of music was also limiting the use of the shawm in progressive music. During the 17th century, members of the prominent instrument-making Hotteterre family narrowed the bore of the treble shawm, dispensed of the pirouette so that the reed was in direct contact with the lips, added two mechanical keys and a contraction rim to the bell. The pitch was lowered by one tone to a concert C. These modifications lent to an enlivened, but still uneven timbre. This was due in part to the use of cross-fingerings (in place of a key system) which obscured the sound. Jean-Baptiste Lully (1632-1687), was another musician and innovator that played a significant part in the oboe's role in the music world.

An Italian born composer and conductor in the court of Louis XIV of France, he is primarily credited as the founder of French opera. He also greatly influenced execution and composition of orchestral literature and added several new instruments to the orchestra. The hautbois made its orchestral debut in his ballet Lï¿½amour malade (1657) and the success of its incorporation in this and other prominent performances attracted the attention of courts across Europe. Oboists were often well paid if they were willing to travel, which in the fashion of the medieval troubadours, expanded its popularity. The Edict of Nantes (1685) and the growing power of Lullyï¿½s musical and social associations in France also caused many musicians to flee the French courts and establish academies of music throughout Europe. The first musical tutors began emerging in England where the virtuosic oboist Jacques Paisible was gaining recognition. While instruments were developing at a quick pace in the upper crust of society, there is evidence the older instruments were still being played.

An engraving by the poet Wiegel (1661-1725) makes reference to the shawm and gives an interesting insight into the societal structure: Away thou rural shawm! My sound shall drive thee hence I serve right well in time of peace and time of war, I serve the church and serve at court, where thou art not, Wine is my reward, and thou must do with yeasty beer, Though in the village, I in castles live and towns, Though hast but a penny ribbon; I have golden chains. [7] The shawm seemed to remain in use, but the hautbois was quickly emerging as a mainstream instrument of the orchestra. During the 18th century, the orchestra set-up began to develop into what would become the standard for the Classical and Romantic styles. The string section became the core of the orchestra. Violas were not always included in the Classical period orchesta; instead, they would add a pair of French horns and oboes. The oboe often held the function of sustaining chords and imitating string passages, giving it a prominent solo role.

In addition, oboists often doubled on instruments such as the transverse flute or the bassoon, which were included in the score but never played simultaneously with the oboe. Other oboe-related instruments, such as the cor anglais (also known as ï¿½English hornï¿½) begin to emerge in scores from the Classical period, as well. [8] The wind section was beginning to take a more prominent seat in the orchestra. Clarinets were added to the orchestra originally to supplant the technical uneasiness of the trumpet. The new array of instruments opened a new spectrum of sound colors to manipulate. This also gave leeway to increased technical and lyrical demands on the instruments. Virtuosic compositions for oboe in chamber and orchestral settings emerged with great popularity. The higher technical demands necessitated further improvements. By the early 19th century, there were already many oboes possessing up to eight keys, as opposed to the original two. A foot joint with the C and C# keys was another significant enhancement. Scientific research, such E.F.F.

Chladniï¿½s Die Akustik (1759-1827), discussed the woodwind acoustics of open and stopped pipes and brought up issues such as tone hole placements. Theobald Boehm (1794-1881) attempted to apply his mechanical system [9] developed for the transverse flute, but the experiment was not successful and production was quickly abandoned. The effects of the Industrial Revolution (1750-1850) dramatically boosted manufacturing and commerce; musicians were no exception. Up to this point, there had been no differing schools of oboe playing as had developed for other instruments, like the transverse flute. However, German instrument makers had been developing a highly advanced key system for the oboe to avoid cross-fingerings beginning in the 18th century. France followed in suit, although some felt the new system forfeited the sound quality. By 1825, the French preference of a brighter and more manifest sound divided from the German preference for tonal depth and blending. Both instruments were being made with fifteen tone holes and ten keys, but the French model assumed a narrower bore and thinner walls and reeds than the German.

In turn-of-the-century Vienna, a ï¿½combinedï¿½ model emerged from the hands of Stephen Koch (1772-1828) and Joseph Sellner (1787-1843). This joined the German appearance and key work mounts with the narrow French bore. The Viennese oboe is still played in Austria, however the French system was to become the international standard. Guillame Triï¿½bert had worked under a German instrument maker in Germany until he began his own instrument manufacturing business in France by 1811. His second son, Frï¿½dï¿½ric Triï¿½bert (1813-1878), inherited the industry and dedicated his life entirely to the manufacture of oboes. He worked closely with other notable oboists and innovators, such as Apollon M.R. Barret (1804-1879) who added the speaker key to the oboe, eliminating the need to over-blow the octave, among other mechanical innovations; Henri Brod (1799-1839) helped refine the tone quality by developing reed making equipment.

[11] The bore was narrowed yet again, the walls of the bore made thinner, the tone holes smaller, and consequently, the reed became shorter and narrower. The measurements increased the oboeï¿½s range to approximately two octaves. As a result, the oboist was more able to produce a focused sound and control the volume and balance in ensemble settings. [10] The practice of switching between instruments became less frequent as musicians began to develop expert proficiency and methodology on single instruments. The Triï¿½bert systï¿½me 6 oboe was patented in 1872 and was later pronounced ï¿½the official model at the Conservatoire de Parisï¿½ by the oboe professor Georges Gillet and Franï¿½ois Lorï¿½e, the Triï¿½bert factory foreman who inherited the business. A successive line of prominent oboists emerged from the Paris Conservatoire, among them Marcel Tabuteau (1887-1966), who was one of the establishers of the French-American school of oboe playing and teaching.

While the 19th century oboist was almost exclusively confined to the orchestra and had no desire to venture out soloistically, most of the 20th century saw the budding of virtuosic players who pushed the limits of oboe playing beyond the standard. The oboeï¿½s potential has increased orchestrally and soloistically through the centuries and oboe manufacturers have continued to strive for perfection in mechanism and tone production as musical demands continue to expand. Not only in the last 30 years but throughout all of history, the oboe's unique penetrating sound has not only given it a specific role in music but has inspired musicians to reach for perfection in the making of the instrument and its music. Bibliography Barnes, Anthony. Woodwind Instruments and Their History. New York: WW Norton & Company, Inc., 1957. Bate, Philip. The Oboe: An outline of its History, Development and Construction. 3rd ed., New York: WW Norton & Co., 1975. "Boehm System." Wikipedia. Wikipedia, 2005. Answers.com GuruNet Corp. 20 Jul. 2005. Brohwsay, Roy.

ï¿½Michael Praetorius.ï¿½ MSN Search, 2002. ~raybro/ Haynes, Bruce. The Eloquent Oboe: A History of the Hautboy 1640-1760. New York: Oxford University Press, 2001. Joppig, Gunther. The Oboe and the Bassoon. Portland, Oregon: Amadeus Press, 1988. Palmer, Andrew. ï¿½Heinz Holliger.ï¿½ IDRS Journal, 1997. Perkins, Neil (translator to English). Vienna Symphonic Library: Instruments Online. Woodwinds: Oboes. Vienna Symphonic Library, 2005. Randel, Don, Ed. The New Harvard Dictionary of Music. Cambridge, Mass.: Harvard University Press, 1986. Rosenthal, Joel T. ï¿½Crusades.ï¿½ MSN Encarta, 2002. #s1/ > Storch, Laila. ï¿½100 F.

Loree 1881-1981.ï¿½ IDRS Journal, 1977. Margelli, Tad. ï¿½The Paris Conservatoire Concours Oboe Solos: The Gillet Years (1882-1919).ï¿½ IDRS Journal. Woodwind Central - Double reed Info bassoon | contrabassoon Oboe. The oboe is a woodwin instrument blown through a double reed and with a compass from the Bb below middle C upwards for over 2 1/2 octaves. Standard orchestra instrument, also in chamber music and military bands. It is the note A sounded on the oboe to which the rest of the orchestra tune their instruments. Many concertos have been written for its solo use, e.g. by Vivaldi, Albinoni, R. Strauss, Vaughan Williams, Martinau, etc. Derives from the shawm and the curtal. Known in France and England in the 17th century as hautbois and hautboy . There also exists: Oboe d'amore : pitched a minor 3rd below normal oboe.

Has pear-shaped bell, which gives it its mellow and individual tone-colour, and is midway in size between oboe and cor anglais . Was favoured by Bach, but subsequently neglected. In 20th century, has been used by R. Strauss in Symphonia Domestica, Holst in Somerset Rhapsody, Ravel in Bolero, Janacek in several works, including operas, and John McCabe has written a concerto for it (1972). Oboe da caccia : obsolete predecessor of cor anglais . hautboy. Obsolete English name for oboe, derived from French hautbois ('loud wood') from which the Italian oboe was derived. cor anglais. (Fr.) English horn. Neither English, nor a horn, but an alto oboe. pitched a 5th below oboe. Name possibly a corruption of cor angle. A transposing instrument, being written a 5th higher than it sounds. Compass from E upwards for about 2 1/2 octaves. The reed is inserted in a metal tube which is bent back. Invented by Ferlandis of Bergamo in 1760.

Not much used before 19th century Romantic composers, but there are several famous solos for it, e.g. Wagner's Tristan und Isolde, Act III; in slow movement of Franck's Symphony, and in Sibelius's The Swan of Tuonela. bassoon (It. fagotto). Bass member of the double reed family, pitched in C, with a range from Bb upwards for about 3 1/2 octaves. Made of wood and with a conical bore. Dates from 1660s. Came to prominence as solo instrument in 18th century. Vivaldi composed 39 concerti for it. Others to use it as solo instrument include J. C. Bach, Telemann, and Boismortier. In 1774, Mozart wrote his concerto (K. 191). Modern instruments made by Heckel (Ger.), Buffet-Crampon (Fr.), and Fox (Amer.). Often used for comic effect but its capacity for melancholy has not been overlooked by composers. contrabassoon (double-bassoon; Fr. 'Contrebasson'; Ger.

'Kontrafagott'). Wind instrument an octave deeper than bassoon and notated an octave higher than it sounds, though Wagner and Debussy sometimes wrote for it at pitch. Some Baroque examples were made but standard modern design is Heckel's (1876). Conical bore tube is 18' long, with 5 parallel sections connected by 5 U-bends. Crook fits into metal tube. Brahms scored for it in his 1st Symphony. In Strauss's Salome there is a long solo for the instrument when Jokanaan descends into his cell. double reed. Wind instruments such as oboe , cor anglais , Heckelphone, bassoon , and contrabassoon , whose mouthpiece consists of 2 pieces of cane between which air is blown so that the 2 reeds vibrate against each other. ALEX Lesson Plan: Instrument Families of the Orchestra: Woodwind Connect computer with Internet access to an LCD projector. Procedures/Activities: Explain that the instruments of the orchestra are divided into four groups called families. Each family has certain characteristics in common with other members of their family.

If you have completed the first lesson in this series, review the string family and the characteristics learned in that lesson. Explain characteristics of the woodwind family of instruments. The instruments of the woodwind family were originally all made of wood. Today, however, the instruments can be made of wood, metal, or ebonite. Ebonite is a hard black substance. All instruments in this family use the player's breath to create the sound vibrations. Go to the NSO kids website. Their is a tune playing at the bottom of the page. Click the pause button and it will stop. Click on the "Our Instruments" button. The woodwind instruments can be grouped according to single reed, double reed, and no reed. Introduce the woodwind instruments in these groups. Students may ask why the saxophone is not included in this lesson. Explain that, though the saxophone is a single reed woodwind instrument, it is not traditionally found in the orchestra. Find the flute on the instrument bar on your screen. If you hover over the picture, it will tell you the name of the instrument. Click on the flute to go the flute page.

Discuss characteristics of the flute and click the "Hear It" button to listen to it. Point out that the flute has a mouthpiece that the player blows across to create the sound. Ask questions about characteristics of the flute such as "What might a flute be made of today?" Scroll to the right on the instrument bar until you find the piccolo. Click on the piccolo on the instrument bar. Discuss characteristics of the piccolo and click the "Hear It" button to listen to it. Explain that a piccolo has a mouthpiece like the flute. Ask questions about characteristics of the piccolo. Scroll the instrument bar to the left until you find the clarinet. Click on the clarinet to go the clarinet page. Discuss characteristics of the clarinet and click the "Hear It" button to listen to it. Explain that unlike the flute and piccolo, the clarinet has a single reed attached to its mouthpiece. The reed is made of wood, and the player blows through the reed to create the sound. Ask questions about characteristics of the clarinet. Scroll the instrument bar to the right until you find the oboe. Click on the oboe to go the oboe page.

Discuss characteristics of the oboe and click the "Hear It" button to listen to it. Explain that although the oboe looks very similar to a clarinet, it has a double reed instead of a single reed. The double reed is made of cane and sits in the top of the instrument. Ask questions about characteristics of the oboe. Scroll the instrument bar to the left until you find the English Horn. Click on the English Horn to go the English Horn page. Discuss characteristics of the English Horn and click the "Hear It" button to listen to it. Explain that the English Horn, like the oboe is also a double reed instrument. Ask questions about characteristics of the English Horn. Scroll to the left on the instrument bar until you find the bassoon. Click on the bassoon to go to the bassoon page. Point out that the bassoon also has a double reed like the oboe and the English Horn. Ask questions about characteristics of the bassoon. Explain to students that instruments in the woodwind family are often grouped according to single reed, double reed, and no reed. Ask students to identify the instruments that are in each of these groups.

Have students cover their eyes or put their heads down so they cannot see the pictures of the instruments. If you are using a projector you may find it easier to blank the screen or turn it off. Play the "Hear It" buttons of the instruments randomly to allow students to identify the instruments they hear. Assessment Assessment Strategies Ask questions about the characteristics of the woodwind family as well as the individual woodwind instruments. Have students identify instruments by their sound only. Ask students to name instruments according to single reed, double reed, or no reed. Acceleration: This lesson can extend by allowing students to identify woodwind instruments that are unconventional or not found in the orchestra. Examples - Saxophone, recorder, coke bottle, straw, kazoo, etc. Intervention: Make posters for each instrument of the family that lists characteristics of the instruments. Place on the wall in the classroom for review or reference.

Each area below is a direct link to general teaching strategies/classroom accommodations for students with identified learning and/or behavior problems such as: reading or math performance below grade level; test or classroom assignments/quizzes at a failing level; failure to complete assignments independently; difficulty with short-term memory, abstract concepts, staying on task, or following directions; poor peer interaction or temper tantrums, and other learning or behavior problems. Instruments of the Orchestra - Arapahoe Philharmonic Instruments of the Orchestra Select Page Instruments of the Orchestra Welcome to the world of classical music instruments! Musical instruments are grouped into different families based on the way the instrument makes its sound. There are four main families of instruments: strings, woodwinds, brass, and percussion. Here is how an orchestra is often set up: Below you will find some basic information about each of the main types of instruments used most frequently in a full-sized orchestra: The Strings The four most commonly used instruments in the string family are the violin, the viola, the cello and the double (string) bass.

They are all made by gluing pieces of wood together to form a hollow “sound box.” The quality of sound of one of these instruments depends on its shape, the wood it is made from, the thickness of both the top and back, and the varnish that coats its outside surface. Four strings made of gut, synthetics, or steel are wrapped around pegs at one end of the instrument, tightly stretched across a “bridge,” and attached to a tailpiece at the other end. The pegs are used to tune the instrument (change the length of the string until it makes exactly the right sound). The strings are tuned in perfect “fifths” from each other – 5 notes apart. The player makes the strings vibrate by plucking them, striking them, strumming them, or, most frequently, by drawing a bow across them. The bow is made of wood and horsehair. The instrument sounds different notes when the performer presses a finger down on the strings on the instrument’s neck, changing the length of the portion of the string that vibrates. The shorter the vibrating part of the string,the higher the sound produced. Violin Violin The violin is the smallest and highest-pitched member of the string family.

It is held under the chin and rests on the player’s left shoulder. It can be played standing or sitting. Usually a soloist will stand, and violinists in an orchestra will sit. The violin often carries the melody in an orchestral work as its brilliant sound carries easily over many of the other instruments. There are usually two sections of violins, first violins and second violins, and they play different “parts” (different music has been written for each group). Viola Viola A little larger than the violin but played in the same manner, the viola is the next lower member of the string family. The viola duplicates the violin’s three lower strings, but its fourth string is tuned another fifth lower than the lowest violin string. It has a warmer tone quality than the violin and often plays harmony to support the violin’s melody. Cello Cello The cello plays notes that are only an octave (8 notes) lower than the viola, but it is much larger. Due to its size, the cellist sits in a chair and rests the cello between his or her knees. The cello has an end pin that rests on the floor to help support the instrument’s weight.

The cello can play the part of a supportive, reliable bass instrument at one moment, and rise to reproduce the notes of a lovely tenor voice at other times. Double Bass Double Bass The double bass, also called the string bass (pronounced “base” as in first base) or just “bass” for short, is the largest and lowest-pitched bowed stringed instrument, an octave lower than the cello. While it looks similar to the other members of the string family, it has more sloping “shoulders” so that the player can reach and move around on the strings more easily despite its large size. It may also have 5 strings rather than 4 with the addition of a lower string. Because of its size (taller than the performer), the bassist stands or sits on a tall stool to play the instrument, which rests on the floor. Harp The harp, another stringed instrument, is nothing like the rest of the string family. It is a tall, triangular-shaped instrument with about 45 vertical strings.

The strings are plucked or strummed with the player’s fingers while seven pedals at the bottom of the harp adjust the length of the strings to produce additional notes.The harpist sits in a chair with the back of the harp between his or her knees, in order to be able to reach the strings and use the foot pedals that can change the pitch of the harp by one or two half-steps. Do you think the piano belongs in this section? Well, it does have strings, 88 of them, but most experts consider it a percussion instrument because of the way the strings are struck by small hammers to make their sound. Therefore you will find it listed under the Percussion section later on this page. The Woodwinds Instruments in the woodwind family used to all be made of wood, hence the name, but now they can be made of wood, metal, plastic or some combination of materials. They are all tubes with an opening at one end and a mouthpiece at the other end. They each have rows of holes that are covered by metal caps called keys.

Pressing on different keys produces different musical notes – the sound changes depending on where the air leaves the instrument (through one of the key holes or out the far end). There are three ways in which the woodwind family creates sound: by blowing air across the edge of or into the mouthpiece (flute or piccolo), by blowing air between a single reed and a fixed surface (clarinet and bass clarinet), or by blowing air between two reeds (oboe, English horn, bassoon, and contrabassoon). Flute The flute is a narrow metal tube about two feet long, with a row of holes covered by keys. The player blows air across the small hole in the mouthpiece to produce a sound that can be either soft and mellow or high and piercing. Like the violin, the flute may often carry the melody line as it is easy to hear above the other instruments. Piccolo The piccolo,usually made from metal or wood, is like a small flute. Because the length of the instrument is shorter than the flute, the pitch is higher, but it operates the same way. It is more of a specialty instrument, used when the part to be played is especially high.

Oboe The oboe does not have a mouthpiece like the flute and the piccolo. It is a double-reed instrument, with two reeds tied together for the mouthpiece. When the player places the reeds between her or his lips and blows air through them into the oboe, the reeds vibrate and produce the sound. Many oboists make their own reeds, or at least tailor them to suit their specific playing style. The oboe is made of wood. It has a more mellow sound than the flute, but still has a bright treble sound and is often expected to carry the melody in an orchestral work. English Horn The English horn (cor anglais) is a perfect fifth below the oboe, which requires it to be one and one-half times as long! It also has a curved metal neck for the reed and a bulbous bell. The fingering and playing techniques are very similar to the oboe, and many performers play both instruments. It is thought to have a more mellow sound than the oboe. Clarinet Another wooden instrument, the clarinet, produces a fluid sound when air is blown between a single reed and the mouthpiece.

As air passes through, the reed vibrates and creates sound. It has a large range of nearly four octaves so is a very versatile instrument. The tone quality can vary greatly depending on the musician, the instrument, the mouthpiece, and the reed. Bass Clarinet The bass clarinet is a larger, lower relative of the clarinet. Most bass clarinets today are straight instruments like a clarinet but with a small upturned silver-colored metal bell and a curved metal neck. The bass clarinet has a usable range of over four octaves, quite close to the range of the bassoon, and many bass clarinetists perform works originally intended for bassoon or even cello. Bassoon The bassoon is a large double-reed instrument with a sound that is deeper than the other woodwind instruments. When the player blows air between the reeds, the vibrating column of air inside the instrument travels over nine feet to the bottom of the instrument, then up to the top where the sound comes out! Luckily, the bassoon comes apart into pieces for easy transport. There is a complex key work system to allow this large instrument to utilize its three-octave range with considerable agility.

Contrabassoon The contrabassoon is twice as long as the standard bassoon, curves around on itself twice, and, due to its weight and shape, is supported by an end pin. Sometimes a strap around the player’s neck gives additional support. It is a very deep-sounding woodwind instrument. The contrabassoon is mainly a supplementary rather than a core orchestral instrument, and is most frequently found in larger symphonic works. Saxophone The saxophone, while made of brass, is actually a woodwind instrument! It uses a single-reed mouthpiece much like the clarinet. The saxophone (“sax” for short) was invented in 1846 by Adolphe Sax to try to bridge the gap between brass and woodwind instruments. It is more powerful than most woodwinds, and more versatile than most brass instruments. The saxophone is used extensively in jazz, as well as in military, marching, and concert bands. There is also chamber and symphonic music written for sax, though it is less common. Still, there are some wonderful orchestral works that use the sax, so you will probably find a sax in our midst at some point every season!

The Brass Brass instruments are essentially very long pipes that widen at their ends into a bell-like shape. The pipes have been curved and twisted into different shapes to make them easier to hold and play. Instruments in the brass family produce their sound when the player “buzzes” her or his lips while blowing air through the mouthpiece, kind of like making a “raspberry,” creating a vibrating column of air within the instrument. Most brass instruments have valves attached to their long pipes. When the player presses down on the valves, they open and close different parts of the pipe, increasing the length of the pipe when played and creating a lower sound. In addition to the valves, the player can select the pitch from a range of overtones or harmonics by changing his or her lip aperture and tension (known as the embouchure). The mouthpiece can also make a big difference in tone. Brass musicians can also insert mutes into the bell of their instrument to change the timbre of its sound. Trumpet The trumpet has been around since about 1500 years BCE!

It is the highest-sounding member of the brass family, and was often used for signaling/sending messages and religious purposes in the early days as the sound is very bright and clear. Air travels through six and a half feet of tubing bent into an oblong shape. The modern trumpet has three valves to change pitches, added in the early 19th century. Trombone The trombone has a more mellow sound than the trumpet. Instead of valves or keys, the trombone uses a slide with seven positions to change the length of its approximately nine feet of tubing in order to reach different pitches. The longer the column of air, the lower the pitch. It also has a short tuning slide to adjust intonation. Bass Trombone The bass trombone is identical in length to the tenor trombone, but has a wider bore and a larger bell to create a fuller tone in the low register. It also has one or two valves which can lower the key of the instrument. There is usually at least one bass trombone in a symphony orchestra.

French Horn The horn (often called the French horn but it really isn’t French at all!) consists of about twenty feet of narrow tubing wound into a circle with a large flared bell at the end. It has a clear, mellow sound, and is played with the bell pointing away from the audience, providing contrast to the other brass instruments. The player produces different notes on the horn by pressing valves with the left hand and by moving the right hand inside of the bell. Tuba Made of about sixteen feet of tubing, the tuba is the lowest-sounding member of the brass family. It is one of the newest instruments in the orchestra, having first appeared in the mid-19th century. The concert tuba generally has four or five valves and is held upright in the player’s lap. While tubas are common in a marching band, in the classical orchestra there is generally only a part for one tuba. Looking for the saxophone? While made of brass, it is under the woodwind section. Read more about it under The Woodwind Family to find out why! The Percussion Family The percussion section provides a variety of rhythms, textures and tone colors to orchestral music.

Instruments in the percussion family make sound in one of three ways, by striking, shaking, or scraping. Percussion instruments can also be tuned or untuned. Tuned instruments play specific pitches or notes, just like the woodwind, brass and string instruments. Untuned instruments produce a sound with no definite pitch, like the sound of hitting two pieces of wood or metal together. Percussion instruments are an international family, representing musical styles from many different cultures. There are numerous kinds of percussion instruments, such as rattles, castanets, or tambourines, that are not shown here as they are used less frequently in orchestral compositions. Keyboard instruments are a special class of percussion instrument. Timpani Timpani, also known as kettle drums, are large copper bowls covered with calfskin or plastic stretched over the top. Timpani are pitched instruments, tuned to a specific pitch that fits into the key of the composition being played. The performer strikes the top of the instrument with wooden sticks or mallets to produce the note. The larger the drum, the lower or deeper the sound. Snare Drum The snare drum is a widely used unpitched percussion instrument, though the sound can be changed slightly by tightening the drum head.

Snare drums may be made from various wood, metal, or acrylic materials, and come in a variety of sizes. Most modern drum heads are made of mylar (plastic). A typical orchestral snare drum might be 14” in diameter and 6” deep. The snare drum is almost always double-headed, with rattles (called snares) of gut, metal wire or synthetics stretched across one or both heads. The snare drum is played by hitting with drum sticks. Bass Drum The bass drum (pronounced “base” as in first base) is a large tuned percussion instrument with a calfskin or plastic drum head that covers both sides of the hollow, wooden cylinder. The bass drum has a deep or low sound. The bass drum is mounted on a stand because of its size, and the player strikes either side with felt-covered mallets. Triangle The triangle, named because of its shape, is made from a small cylindrical piece of steel that is suspended from a loop and played by striking with a steel beater. While it looks easy to play, getting the volume and rhythm correct can be challenging!

Gong The gong is a brass disc-shaped instrument that is hit with a large, soft mallet. Gongs can range in size from very small, producing a high-pitched sound, to larger than a person (!), producing a low or deep reverberating sound. Cymbals Cymbals are made of thin, round plates of metal alloys. Most cymbals are of indefinite pitch. The size of the cymbal affects its sound – larger cymbals are louder and can sustain their note longer. The unique sound of the cymbals allows them to project above a full orchestra, but they can also be played very softly, and offer a wide variety of options for making different sounds. Orchestral cymbals are traditionally used in pairs, each one having a strap by which they are held. Sound is created by rubbing their edges together in a sliding movement, striking them against each other, and several other techniques. Cymbal pairs are usually damped when the sound is supposed to end by pressing them against the player’s body.

Another use of cymbals is to hang a cymbal by its strap, which allows the cymbal to vibrate freely when struck by mallets or drum sticks, making a very different sound than two cymbals hitting each other. Vibraphone The vibraphone is an instrument that has a keyboard made from aluminum bars, similar to a xylophone or marimba. The player strikes the keys with mallets, and may make the notes hold a couple of seconds longer using a pedal similar to that on a piano.Vibraphone keys are of graduated widths. Lower bars are wider and higher notes are narrower, to help balance volume and tone of the instrument. The player plays the vibraphone while standing up. Piano The piano is probably one of the most familiar musical instruments. Not only is it used for solo performances, but it often appears in ensembles and chamber music, and is frequently used to accompany, rehearse, and compose. The piano has figured prominently in all kinds of music from classical to music halls to ragtime to jazz to rock and roll. It is a keyboard instrument that produces sound when the player presses the keys with her or his fingers, causing small padded hammers to strike the strings.

The sound is stopped by a damper when the key is released, though pedals can sustain the note a bit longer. The piano can produce a great variety of dynamics (soft to loud), based on how hard or softly the pianist hits the keys. There are 88 keys (52 white and 36 black) on a standard piano! Want to hear what many of these instruments sound like? Check out this Dallas Symphony Orchestra site: . Each featured instrument can be heard making a sound, playing a tune, or playing with an orchestra. Explore the rest of the DSO Kids site, too – hear music written by various composers throughout history and find information on music theory for beginners. Thank you, Dallas Symphony Orchestra, for developing such a cool website! Another really great site for kids has been provided by the San Francisco Symphony. It is called “SFKids – Fun and Games with Music,” and offers ways to discover, listen to, play, perform, conduct, and compose music through games. Check it out at . Thanks to the San Francisco Symphony for providing such a fun way for kids to learn about the delights of music! Special thanks to the Dallas Symphony Orchestra for granting us permission to use some of their instrument images on our website.

Question: Apart from the oboe which other instrument in a standard orchestra has a double reed?
Answer: BASSOON